In 2013 pianist/keyboardist Bob James and alto saxophonist
David Sanborn are likely to be considered contemporary jazz royalty since their
respective careers helped usher in the smooth jazz trend. James has fashioned
an exceptional career as solo artist, producer (Paul Simon, Kenny Loggins) and
mentor (Kirk Whalum) and currently gets his groove on making music as part of
the remarkably durable smooth jazz super group, Fourplay. Sanborn has released
24 albums of his own and won six Grammy® Awards, one of which was the huge
selling collaboration with James, the slick and soulful Double Vision (1986, Warner Bros.) that also featured star turns by
Al Jarreau and Marcus Miller (“Maputo.”)

Fast forward to present day and the re-animated Okeh
label (via Sony Masterworks,) which took the opportunity to reunite James and Sanborn, inviting them
to rekindle the fire that burned so brightly back in the day. To their credit they
didn’t take the easy route and instead, defy all expectations with Quartette Humaine, an all-acoustic
program featuring Double Vision’s original
drummer, the illustrious Steve Gadd, and bassist James Genus.

Can two smooth jazz veterans make challenging, gutsy music
together? Absolutely, yes, and right from the start of James’ delightful “You
Better Not Go To College,” you know this won’t be a nostalgic retread. James
and Sanborn achieve a live, in-studio sound – polished, for sure – but the original
tracks, four by James and three by Sanborn, leave the door open for atonalities
and a few knots (Sanborn performs much further “outside” than what you’re
accustomed to hearing; his sound tart and pitched.) James’ uncanny ability for memorable
songwriting makes tunes like “Montezuma,” the classical tinged “Follow Me” and
“Deep In The Weeds” swing with straight-ahead heft. The quartet injects “Geste
Humain” by French singer/songwriter Alice Soyer with a mysterious, poetic
beauty. And it’s especially great to hear Gadd again in context with these
musicians. Genus, who has collaborated with James on his other acoustic
projects, lays down bass lines with polished efficiency, at once soulful and
grounding.

Produced in part as a tribute to Dave Brubeck and with the
spirit of Paul Desmond floating above, it sounds as if James and Sanborn
finally got a chance to make a record their way, and its success rests squarely
on the superb four-way dynamic the quartet affectionately shares. (9 tracks; 54
minutes)